Program Regine Pessoa/Regina Pessoa Selection

KAKÅ NA SPOKOJNOST / OH QUE CALMA / HOW CALM IT IS
Abi Feijó (National Film Board of Canada)
Kanada/Canada, 1985, 16mm (BetaSP), 3'08''

Pesek, pinscreen animacija, plastelin, pasteli, fotokopije, risba, izrezljanka in praskanka na filmskem traku.

Pred tem filmom sem poznala samo TV risanke in animirane serije za otroke. Beseda 'animacija' mi ni veliko pomenila. To je bilo moje prvo srečanje z 'drugo platjo' animacije: bilo je nekaj popolnoma drugačnega od animiranih filmov, kakršnih sem bila vajena. Ta majhen, preprost film me je presenetil, saj je pokazal, da lahko v animaciji izrazimo tudi svoje umetniške predstave. Prepoznala sem se v njem in tako mi je odprl vrata novega medija, v katerem lahko govorimo s svojim lastnim jezikom.     

Before seeing this film, I have only seen TV cartoons and children's series and the word "animation" didn't mean very much to me. This was my first contact with the "other side" of animation: it was something completely different from the animations that I was used to. Watching this short, simple film, came as a surprise, because it proved that people can express artistic imagery in animation. I recognized myself in the film, and it opened the door for me to a new media where we can use our own personal languages.

OBLIKE DIALOGA / MOŽNOSTI DIALOGU / DIMENSIONS OF DIALOGUE
Jan Švankmajer (KF a.s. - Jiří Trnka Studio)
Češka/Czech Republik, 1982, 35mm, 12'

Dejanja, strasti, uničenje — pretresljiv triptih, resničen prikaz stanja človeštva. Mojstrovina češkega avtorja Jana Å vankmajerja, v kateri so prisotne vse njegove obsesije in aluzije. Film je bil v Annecyju proglašen za najboljši animirani film vseh časov (Grand Prix 1983).

Ko sem začela z delom kot animatorka pri studiu Filmografo, sem ponoči delala še v nekem baru. Včasih, ko smo okoli štirih, petih zjutraj zapirali, sem bila čisto preveč 'budna', da bi šla domov, in tako sem se ustavila še v studiu (imela sem ključ), kjer sem gledala kratke animacije. Tako sem naletela na Vrste dialoga. Film me je presunil in pogosto sem ga gledala tudi pozneje. Čeprav sem ga videla pred petnajstimi leti, je to zame še danes eden najbolj osupljivih filmov.. 

Action, passion, destruction — a  gripping triptych, a realistic portrayal of the human condition. A masterpiece by the Czech author Jan Å vankmajer, in which all his obsessions and references can be found, the film was selected as the best animation film of all times at Annecy (Grand Prix 1983).

During the time I started working in animation at Filmografo, I was also working the nightshifts at a bar. Sometimes when the bar closed around 4 or 5 in the morning, I was too "awake" to go home, so I'd pass by the studio (I had a key) to watch animated shorts. That's how I came across Dimensions of Dialogue. I was amazed and I watched the film again and again. This was 15 years ago. I am still amazed by this film...  

FRANZ KAFKA
Piotr Dumała (Studio Miniatur Filmowych)
Poljska/Poland, 1991, 35mm, 16'

Fiktivna biografija Franza Kafke po navdihu pisateljevega osebnega dnevnika in fotografij, narejena v tehniki praskanja slike na mavčne plošče. 

Film sem videla na svojem prvem festivalu Cinanima leta 1992, kjer je prejel posebno nagrado žirije. Tekstura, kontrast med svetlobo in senco ter posebna atmosfera filma so naredili name velik vtis. Vtisnil se mi je v spomin in kasneje sem svoj prvi film Noč naredila s praskanjem na mavec.

A fictional biography of Franz Kafka, inspired by the writer's personal journal and photographs. The film employs the technique of scratching the painting onto plaster plates.   

I saw Franz Kafka at my first Cinanima in 1992, where it won the Special Jury Award. I was impressed by the texture, the light/shadow contrast and that particular atmosphere of the film. It remained in my mind and later I realized my first film, The Night, engraved on plaster plates.

VASICA /THE VILLAGE
Mark Baker (Pizazz Pictures)
VB/UK, 1993, 35mm, 14'

V zakotni vasici vsak kaj skriva. Vaščani porabijo polovico svojega časa, da bi odkrili sosedove skrivnosti, drugo polovico pa, da bi zavarovali svoje lastne.

Odraščala sem na vasi in res je bilo tako: v takšni majhni skupnosti so življenja tako povezana in tako malo zanimivega se pripeti, da ljudje ves čas opazujejo drug drugega in pogosto postanejo nesramni. Ta film sijajno prikaže to resničnost, s humorjem, poetiko ter odlično preprostostjo, eleganco in lepoto svojih vizualnih podob, animacije in zvoka.  

In a small isolated village everyone has something to hide. The villagers spend half of their time trying to discover their neighbours' secrets, and the other half struggling to protect their own.

I grew up in a village and it was really like this: In such small communities, lives are so closely bound and there so few exciting things happening that people observe each other a lot and often become mean. The film is a perfect portrayal of this, with humour, poetry, an exquisite simplicity, elegance and beauty of its visuals, animation and sound design.

BANDITI / OS SALTEADORES / THE OUTLAWS
Abi Feijó (Filmógrafo)
Portugalska/Portugal, 1993, 35mm, 14'14''

Notranjost avtomobila. Noč. Po portugalskih cestah sredi petdesetih let potuje avto. Potniki govorijo o skupini moških, ki so jih pred leti, proti koncu španske državljanske vojne, zajeli in usmrtili. Trije pogledi se srečujejo v pogovoru, ki razkriva družbeni položaj vsakega izmed govorcev in ideološke predsodke portugalskega fašizma. 

Sodelovanje pri tem filmu je bila moja prva zaposlitev v animaciji, zato mi veliko pomeni. Veliko pa pomeni tudi za portugalsko animacijo: to je bil prvi kratki animirani film, narejen s podporo Portugalskega filmskega sklada, in pomeni začetek nove epohe znotraj portugalske umetniške animacije. Hkrati pa je to tudi prepričljiv zgodovinski portret temačnega obdobja portugalske diktature.

In the middle of the night a car travels through Portugal in the 1950s. The passengers are discussing the identity of a group of men captured and executed years before, when the Spanish civil war was drawing to a close. Three viewpoints merge in a discourse which reveals the passengers' social identities and the ideological sensibilities of Portuguese fascism.     

My first job in animation was on this film, so it means a lot to me. But it also means a lot for Portuguese animation: it was the first short animation film supported by the Portuguese Film Commission, marking the rise of a new era in Portuguese artistic animation. Last but not least, it is a strong historical portrayal of the dark period of Portuguese dictatorship.

MOŽ S PRELEPIMI OČMI / THE MAN WITH THE BEAUTIFUL EYES
Jonathan Hodgson (Sherbet)
VB/UK, 1999, 35mm, 6'

Skupina otrok se igra na zaraščenem vrtu zapuščene hiše. In le enkrat srečajo veselega in svobodnega pijanca, ki v njej živi. 

Film idealno združuje animacijo, vizualne podobe in pripoved z uporabo pripovedne poezije, ki ni nikoli odveč, niti v eni sami sličici. Brezhibno se prilega. Navdušena sem nad surovim, skeptičnim portretom človeške narave, ki ga slika pesem, in nad tem, kako podobe plovejo okoli naracije.  

A group of children is playing in a wild garden surrounding an eerie house. One day they meet the man who lives in it, an airy free-spirited drunkard, and then never see him again.

This film perfectly combines animation, visuals and narration: using a narrated poem, which is never redundant, not even in a single frame. It fits perfectly, like a glove. I love the crude and sceptical portrait of human nature in the poem, and the way the images navigate around the spoken words.

NOČ / A NOITE / THE NIGHT
Regina Pessoa (Filmógrafo/RTP)
Portugalska/Portugal, 1999, 35mm, 6'35''

Tesnoba male deklice spričo neznanih pokrajin noči in materine odtujenosti.

A little girl's anxiety about the unknown territories of the night and her mother's strangeness and disaffection. 

TRAGIČNA ZGODBA S SREČNIM KONCEM / HISTÓRIA TRÁGICA COM FINAL FELIZ / TRAGIC STORY WITH HAPPY ENDING
Regina Pessoa (Ciclope Filmes/Folimage/NFB/Arte France)
Portugalska, Francija, Kanada/Portugal, France, Canada, 2005, 35mm, 7'46''

Nekateri ljudje so drugačni, pa čeprav proti svoji volji. Nočejo biti podobni ostalim, ne želijo se neopazno izgubiti v množici. Spet drugi si vse življenje prizadevajo, da ne bi zlezli iz nje, zanikajo in skrivajo svojo drugačnost. So pa še tretji, ki se trudijo, da bi našli svoje mesto med drugimi ... v njihovih srcih ... in ti so zares veliki.

Some people are different, against their will. They do not whish to resemble others, delightfully mixing with the crowds. Other people again spend their lives trying to achieve this, denying or hiding their differences. And then there are those who strive to find their place among people... within their hearts.